Messages

106

Tools of the Trade / Re: drug use onstage

« on: Apr 21, 2009, 08:07 am »

I've done the research and was told that the Equity-approved cocaine substitute is powdered baby formula.

I'm just curious as to where you got the "Equity" information.  Did you actually call Equity?  I didn't know they kept a list of "approved" substitutes. 

In any case, I am in agreement that snorting anything is getting into a dangerous area.  Another thing to think about, is there a way to put a filter in the "straw" (you will have to ignore my drug paraphernalia naivety, I don't know the proper term for the rolled up dollar bill) so they suck the substance up but it doesn't actually make it to the nose?

E



Moderator note:  Touched up BB code, no change made to content of post.  -KMC307

107

Stage Management: Plays & Musicals / Re: Barrell-Through Tech

« on: Apr 05, 2009, 10:58 am »

I guess I don't understand the concept behind this.  What is gained?  Personally I don't do/like C2Cs.  I like to tech through the show in order, stopping & fixing when need be: re-running costume changes and shifts if necessary, fixing light cues & sound cues, making sure actors feel safe & secure with technical elements, basically getting the show right.  Sometimes you can do that and barely  have to stop given the needs on the show (no blackouts or costume changes and how good your team is).  But then after that, it should just be a matter of tweaking the show after runs.  It seems that just endless running never really solves anything, and could be slightly dangerous.

You said you had 30 hours for the week.  If approximately 12 are used in performance, that leaves you with 18.  If the show is not necessarily that technically difficult as you say, even giving "tech" 10 hours, that leaves you 2 run-thrus and note time.  I mean at this point in the process do actors really need to run the show endlessly?

108

Stage Management: Plays & Musicals / Re: Marking Out the Floor Without Tape

« on: Apr 04, 2009, 10:59 pm »

In college, we rehearsed in a different room, on a different part of campus every night, so I outlined the set with 1/4" ribbon and stitched the shapes together.  That way it was easy to pack into a bag at night and carry around and the next day just stretch it out in the next room.  I do have to say that was a set with nine various rectangular platforms, so I was sewing squares.  I don't know if I would use this method if the set piece were a castle or the like.

109

Stage Management: Plays & Musicals / Re: Headset Etiquette

« on: Apr 04, 2009, 10:52 pm »

I personally keep my headset off unless I am in a stand-by and calling cues or cues are running.  My main reason: nothing drives me more nuts than listening to others breath in the headset and so I assume I sound just as bad and I would prefer to spare them.  Personally, unless cues are happening why do you need to keep it open: you can accidently bump it, react to something verbally on-stage that others need not hear, etc.

But that's me...

110

Stage Management: Plays & Musicals / Re: A Chorus Line

« on: Mar 31, 2009, 09:30 am »

When I last did ACL, the ALD called the spot cues due to the large number of both light and spot cues. This was also a summer stock setting: 15 hours of tech, 8 performances.  And for the good of the show it was much better to have one person focused on talking the spots through the show.  There were certain moments when I would open the headset channel to the spots to help make something clean - i.e. the spot bounce down the line at the near the top of the show.  Ironically in the end, I could have called both as when spots were heavy, lights were not and visa versa, but I did not have time during tech to verbally "teach" the cues to the ops as well as calling the other cues.

I do wonder however about the light board op calling the spot cues, simply because they should be focused on when you are saying "GO" for the board cues. And what if something goes wrong on the board?  It seems to me if they have time to call the spot cues, you must have time to call the spot cues.  I would agree with kiwitechgirl, if there is a specific spot caller, great, but I would be nervous about the board op doing it.

111

Stage Management: Plays & Musicals / Re: ASM Duties on very small show?

« on: Feb 28, 2009, 09:47 am »

I work at a theatre that uses relatively small casts for all its shows, 2 - 6 actors on average, and I ALWAYS have an ASM in the rehearsal hall with me.  Their main focus is staying on book for the actors and tracking props/setting the rehearsal hall, that way I can focus on blocking, other technical aspects, and getting my head out of the book to watch rehearsal.  You mentioned that this was a moderately prop heavy show as well as having projections, etc.  It seems like there is a lot this person could be doing to take some of the burden off of you.  Also, is this person interested in stage management?  This seems like a perfect learning opportunity.  Yes, there is not a huge chorus to wrangle but unless the show consists of just the Actor sitting in one chair (i.e. no props to track or blocking for you as the SM to be taking) there is always something for the ASM to be doing.  Then once you move on-stage, this person will be able to help you set the stage and assist you in other things as they will know the show.

An ASM is a very valuable position.  I say take them when you got them, or the theatre may not give you one when you need it!

112

The Hardline / Re: Half Hour Call

« on: Jan 20, 2009, 10:04 am »

Like Matthew, my understanding is that it is only for performances, though I too also give it at the top of tech days and dress rehearsals.  It gives wardrobe and the actors a chance to touch base and get ready without everybody feeling I am breathing down their necks to "hurry up".  And meanwhile on-stage, I am generally teching the top of the show, that way once half hour is over, we can dive right in without the actors standing around waiting for tech.

After that, it all depends on the type of show.  A modern piece where it is two actors in jeans, I try to get them into costume as quickly as possible so we can get tech going. 

113

The Hardline / Re: Hardline Meal Break Expansion Thread

« on: Jan 06, 2009, 10:11 am »

To start my response, many years ago, very early on in my union career I worked with an artistic director who didn’t want to designate the lunch break as part of the rehearsal day.  Being young and not wanting to be taken advantage of I called the Business Rep (SPT).  They said that only the span of day needed to be announced, not what you were doing within that span of day.  As a “professional” theatre I still feel knowing whether or not you have 2 or 5 hours before a meal break is just common courtesy, but hey, you came prepared for anything.

That aside, I have had to push lunch break in the past to finish things up.  Depending on cast size, generally if it is only five to ten minutes and a large musical I don’t worry about things on the backside of the break.  They can wait.  If it is a small cast I do notify everyone involved.  However, when fittings or other things are scheduled that are going to start backing up, I try to impress on the director the need to get things finished faster.

I have never had a protest from an Actor or Deputy.  Most have always wanted to put closure on a scene or run a dance sequence once more before leaving it for lunch.  And generally speaking I am pushing things by 5 to 10 minutes not half hours or hours.

But all this being said, the “span of day” is not being changed.  If rehearsal was scheduled to end at 6:00, it still ends at 6:00 not 6:10.  Again, something to remind the director of, that they are short-changing themselves on the other side of the break.

114

The Hardline / Re: LORT - Rehearsal Questions

« on: Oct 03, 2008, 09:59 pm »

Thanks for the update.  I stand corrected. 

115

The Hardline / Re: LORT - Rehearsal Questions

« on: Oct 02, 2008, 08:31 am »

So, word back from LORT is the 3.5 hour break is kosher, as it does not break any rules. 

The word back from LORT and not AEA, right.  Maybe it is something to bring up for the negotiations to make clearer.  I would still double check with AEA, as we work for them and not LORT.

116

The Hardline / Re: LORT - Rehearsal Questions

« on: Sep 30, 2008, 10:52 pm »

I feel that the 50(E)(3) rule trumps.  I ran into this situation at some point, thought the details are now VERY hazy, but in calling the Rep, the day was defined by the show call backing into the "dinner break" backing into rehearsal. I however interpret the rehearsal rules and the 12-hour day differently than you do as (based on your previous posting regarding explaining the rehearsal rules to actors).  My feeling is that the unions intent is to keep the working day as compact as possible and not necessarily make people do something at 10am and then not be called again until 9pm.  I agree with others and might check with the Rep or at least discuss with the Deputy.

117

Uploaded Forms / Re: rehearsal reports

« on: Sep 02, 2008, 07:55 am »

I don't record breaks, per say, but I do keep record of what was accomplished in each "section":
10:00am - 10:30am Staged Pg 6-11
10:35am - 11:30am Reviewed Pg 1-11.

I have found it helpful in OT situations to know when people were called/released as well as when directors wonder where all the time has disappeared to.  It also depends on the situation.  My summer job often has three rehearsal rooms going, all on different schedules, so the reports don't include broken down days. 

118

The Hardline / Re: Archival Video Taping Vote

« on: Jan 24, 2008, 06:37 pm »

Management has never "asked" me to do it on the first rehearsal, but I always do it then when we are doing all the other votes for 6-hours days, breaks, etc.  I personally like getting it out on the table at the beginning of the process. 

I have never been asked to vote on it later, I generally get "it's fine to do it, I just don't want to know when it is happening" response.  I do, however hold off on the signing of the rider until we move on-stage.  It acts as a gentle reminder that it is about to happen, and that they should voice any concerns now.

119

The Hardline / Re: Fittings on a Straight-Six day

« on: Dec 31, 2007, 01:24 pm »

The LORT theatre I currently work at tends to rehearse 6 hour blocks for most shows.  Because our final week of rehearsals also includes our first 10/12, I have always taken two votes on the first day: one for 6 days of 6 hours (making sure the actors understand the 2 hour fitting/PR rule) and one for the combined week.